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Sven Delaye
Sven Delaye
Sven Delaye
Sven Delaye

Sven Delaye

Country: France
Birth: 1984

Sven Delaye, a digital nomad and videogames translator, has been traveling around the world for nine years. Throughout his journey, he always enjoyed capturing moments of life, but everything changed in early 2020: for a long time, he kept his street photography private, convinced it wouldn't interest others. In 2020, he submitted some landscape photos for the cover of a Guatemalan magazine. These photos were declined. However, the publisher explored his Instagram account and discovered the sole street photo he had shared. That single image was selected for the magazine's cover. Encouraged by this recognition, Sven began sharing his street photography, which quickly gained international acclaim in countries such as the USA, Mexico, Italy, the UK, Greece, France, and South Korea.

For several years now, Sven has dedicated himself to street photography. Through his travels, it became a way to capture fleeting moments of everyday life, rediscover the poetry hidden in the mundane, and avoid the artificial clichés often propagated by social media. His inspiration comes from the simplicity of daily life: a stranger passing by, a fleeting glance, the curve of a smile, or the beauty of a quiet scene at a street corner. Sven finds poetry in unexpected places—a gutter, a park, or the shadow of a feeling in a small gesture. He believes this beauty surrounds us constantly, yet it often goes unnoticed. Whether it's because people choose to ignore it or have grown desensitized to it, he doesn’t know. What he does know is that his camera allows him to capture these overlooked moments and reveal the richness of life to those willing to see.

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More Great Photographers To Discover

Christian Vizl
Mexico
1972
CHRISTIAN VIZL was born in México City and has been a photographer for over three decades. He has won dozens of international professional awards including Wildlife Photographer of the year, International photographer of the year and Sony World Photography awards. He has served as judge in several international underwater photography contests and his images have been published in numerous outlets including National Geographic and Ocean Geographic. Artist Statement "Every since I was a kid, as far back as I can remember, I was attracted to the sea. I dreamt about what lay beneath the waves, and how would it look if suddenly all the water vanished, leaving in stasis all the animals and living creatures. In this way, I could walk inside the ocean and see them all, suspended for a moment in time and space. I have devoted my life to exploring and contemplate the amazing beauty of the ocean and it has been an incredible journey that has brought me a deep feeling of connection with nature, but sadly during my lifetime I have witness the ever-increasing devastation that we humans are creating in this planet. Today the world's Ocean is in grave danger. Overfishing, pollution, plastics, radiation, climate change, acidification and other human pressures threaten the fundamental nature of the ocean and it's animals are being pushed to near extinction. The time to act and reverse our negative impact is now, before it's too late risking loosing everything. The majority of humans see marine animals merely as tons of food, but I see them as so much more than that. They don't have a voice that we can understand, so the higher purpose of my images is to be a voice of the ocean and for the ocean, hoping that people can get a glimpse of who they really are, beautiful sentient individuals, with feelings and different personalities, with complex behaviors and interesting lives that science is only starting to understand. I believe Photography is capable of real service to humanity, promoting empathy and initiating change, so my main purpose as a photographer is to create poetic images showing the incredible beauty of these animals knowing they carry the power of changing our perception and spark the love and empathy that we all have inside. If we want to have a future in this planet, we need to understand that our lives are interconnected to all living animals, and our own well being is directly linked to the well being of these animals. As Dr. Sylvia Earl stated, "No blue no green, if the oceans die, we die" All the images where taken in their natural environment, with great respect to the animals, and for postproduction I only use basic settings in Lightroom." Photography is all about light, and in my opinion, it is the single most important aspect when it comes to creating appealing, inspiring and touching images. Beyond technical issues, what's most important is how I apply and manipulate the light that's available in order to create pictures with dramatic effect, carrying depths of emotion and using contrast and tonalities as means to emphasize form and structure of the scenery. I focus on the emotional impact of the final shot that will connect on a deeper level with the people that observe these photographs. Just as a poet uses words to create poetry, a photographer uses light to create images. So when I'm underwater taking pictures, one of my goals is to create poetic images through the use of light. I try to capture sublime moments of the marine environment, the essence of being there, in that experience and in the presence of that particular animal, capturing their splendor and soul. It's sheer beauty and poetry with images that inspire, make us vibrate through the beauty in every corner of the ocean, an epic sight that make us dream of a better world, where we value and care for all expressions of life.
Gregori Maiofis
Russia
1970
Gregori Maiofis was born in 1970 in Leningrad, Soviet Union, now St Petersburg, Russia. His grandparents, Solomon Maiofis (1911-1968) and Olga Ugriomova (1913-2009) were architects, father, Mikhail Maiofis (b. 1939) is a famous book illustrator. In 1987-1989 studied at the Academy of Arts (the Institute of Painting, Sculpture and Architecture n.a. Y. Repin) in St Petersburg at the graphic arts department. In 1991 his family moved to Los Angeles, California where he lived until 1995. Currently lives and works in St Petersburg, Russia. Gregori Maiofis has had solo exhibitions across Russia, Europe, and the U.S. since 1993. His work is in many museum collections including the following: Museum of Fine Arts, Houston, Los Angeles County Museum of Art, Santa Barbara Museum of Art, Multimedia Art Museum, Moscow, The State Pushkin Museum of Fine Arts, Moscow, Museum of modern Art, Moscow, Novy Museum, St Petersburg, Russia, National Gallery of Slovakia, Bratislava, Museum of Modern Art, Rio de Janeiro.Source: gregorimaiofis.com Gregori Maiofis (Russia, b. 1970) comes from a family lineage of artists and architects including his father, the renowned graphic artist, Mikhail Maiofis, who nurtured artistry early in his son's life. Maiofis is a classically trained printmaker and graphic artist who began his first photographic projects in 2000. Printmaking is still an integral part of the artist's oeuvre, which following experimentation with gelatin silver prints and several alternative processes, led to his now prominent use of bromoil and bromoil transfer printing. Common among the Pictorialist masters of the early 20th Century, the bromoil process allows the artist unique aesthetic abilities to manually control the color, tone and texture of the final picture on various surfaces. In the series Proverbs (Monograph available, Nazraeli Press, 2014) the artist uses proverb texts of various origins and visually interprets and conceptualizes them in whimsical staged compositions. Often working with trained animals including elephants, monkeys and predominantly a bear named Funt, Maiofis creates a new reality of interplay between human and animal. Several of the prints on view depict a dialogue of ballet between a Russian ballerina and the bear who appears thoroughly enthused by the performance before him.Source: The Eye of Photography In his work, Maiofis seems to follow the well-worn formulas of how to make “real art, art not for pleasure” but one does get certain pleasure all the same. That pleasure comes from vibrancy of the works’ surface, be it painting or photography. Maiofis has enriched his photography with his painting experience of how to “saturate the surface” of his works so that the “depth” of space in his photos is produced by an illusion of sombre depth like in Baroque painting rather than by multiplanarity of composition. In the photo series Fables he turned to the fables written by Ivan Krylov dubbed Russian La Fontaine in the latter half of the 18th and the earlier half of the 19th centuries. In conformity with the Soviet tradition those fables were for a long time interpreted as a reading matter for children. The artist refutes this view and creates a photographic semblance of space which, in complexity, is commensurable with the fables’ rich associative and semantic content. Here, he uses various forms of photography, combining collage, montage, and painting on photography, and using prints to build the scene for a new still. In his subsequent works, Gregori Maiofis mocks at artistic erudition itself by looking at “simple truths” crammed into a freshman’s head in the history-of-art class. As a rule, people don’t stop to think about the hidden meaning of objects habitually used in art. Maiofis subjects such cliches to ridicule, which brings about sudden recognition of how complex the habitual is. He provokes this recognition not unlike a practicing painter who would recognize that classical photography is the most expressive pictorial means known to him. He thus creates photography involving text that cannot be fully narrated elsewhere.Source: De Santos Gallery
Nicholas White
United Kingdom
1989
Nicholas JR White is a photographer based in the UK. His work examines our relationship with landscape and the ways in which we interact with our natural spaces. He has been featured in numerous publications internationally as well as being named in notable photographic awards such as the Magenta Foundation Flash Forward, Royal Photographic Society IPE, Landscape Photographer of the Year and the World Photography Organisation ZEISS Photo Awards. In 2017 Nicholas was awarded the Royal Photographic Society Under 30's Environmental Bursary in association with The Photographic Angle and was a winner in the Lens Culture Emerging Talent Awards. His debut monograph, 'Black Dots', was published by Another Place Press in February 2018. About Black Dots 'Black Dots' is an exploration of mountain bothies and bothy culture throughout the United Kingdom. Far from civilisation and mostly accessible only by foot, bothies are secluded mountain shelters scattered across the British Isles and tirelessly maintained by volunteers from the Mountain Bothies Association. Unlocked and free to use, they provide a refuge from the vast terrain that surrounds them and have become an iconic feature of the British landscape over the past fifty years. Bothies are synonymous with the outdoor experience in the UK and from day trippers to mountaineers, the growing community of bothy-users is hugely diverse. 'Black Dots' is the result of almost three years spent traversing our most remote landscapes in an attempt to better understand what these buildings are, where they're located and the culture that surrounds them. Drawn not only by the primitive beauty of the bothies and the landscapes they sit within, the work also investigates the human element to the bothy story, capturing the faces of those who trek for hours to temporarily inhabit these spaces, many miles from the nearest settlements.
Noémie Goudal
France
1984
Noémie Goudal's practice involves the construction of ambitious staged, illusionistic interventions within the landscape, documented using film and photography. Her oeuvre expands photography across its standard parameters, into immersive installations and performances, underpinned by rigorous research examining the intersection of ecology and anthropology and the limitations of theoretical conceptions of the natural world. Goudal's latest work unravels an artistic dialogue with the field of paleoclimatology, analysing climate and geology from the vantage point of "deep time" to acquire an understanding of our planet's trajectory. Goudal's work creates an intellectual bridge between our experience of "real time" and deep time, measured in millions of years, exposing the geographies of the earth as we know them to be mere momentary states in a cycle of continuous flux. Noémie Goudal (b.1984) graduated from the Royal College of Art (UK) in 2010 with an MA in Photography. She is currently shortlisted for the Prix Marcel Duchamp 2024. Solo exhibitions include Mostyn, Llandudno, UK (2024); FRAC Auvergne, Clermont-Ferrand, France (2024); ANIMA, Tate Modern, London, UK; Venice Theatre Biennale, Venice, Italy and Centre Pompidou, Paris, France (2023); Post Atlantica, Les Rencontres d'Arles, Arles, France (2022); ANIMA, Festival d'Avignon, Avignon, France (2022); Décantations, La Vitrine, Frac Île-de-France, Paris, France (2022); Post Atlantica, Le Grand Café Centre d'Art Contemporain, Saint-Nazaire, France (2021); Echos toujours plus sourds, Musée Delacroix, Paris, France (2021); Observatorium, Kunstverein Hildesheim, Hildesheim, Germany (2019); Telluris, Ballarat International Foto Biennale, Ballarat, Australia (2019); Telluris, Musée des Beaux-Arts Le Locle, Le Locle, Switzerland (2019); Stations, The Finnish Museum of Photography, Helsinki, Finland (2018); Southern Light Stations, The Photographer's Gallery, London, UK (2016); The Geometrical Determination of the Sunrise, FOAM Museum, Amsterdam, Netherlands (2015). Selected group exhibitions include Second Nature: Photography at the Age of the Anthropocene, Nasher Museum, Durham, NC, USA (2024-2026); Un Manifeste du regard sur la Nouvelle Aquitaine, Frac Nouvelle-Aquitaine La MÉCA, Bordeaux, France (2024); New Worlds: Women to Watch 2024, National Museum of Women in the Arts, Washington, USA (2024); PHOTO 24, Melbourne Photo Biennale, Melbourne, Australia (2024); Bella Vista, Centre d'Art Contemporain, Sant-Nazaire, France (2021); Accelerate Your Escape: Gary Hume Explores the Hiscox Collection, Whitechapel Gallery, London, UK (2020); Inner Space, Lisbon Architecture Triennale, National Museum of Contemporary Art, Lisbon, Portugal (2019); MELTDOWN: A Visualization of Climate Change, Horniman Museum, London, UK (2019). Goudal's work is held in public collections including Centre Pompidou, Paris, France; David Roberts Art Foundation, London, UK; FOAM Museum, Amsterdam, The Netherlands; Fotomuseum Winterthur, Winterthur, Switzerland; High Museum of Art, Atlanta, USA; Kadist Art Foundation, Paris, France; Kiran Nadar Museum of Art, New Delhi, India, the Victoria & Albert Museum, London, UK and The New Art Gallery Walsall, Walsall, UK. Noémie Goudal lives and works in Paris.
Tommaso Rada
Tommaso Rada is an Italian photographer currently living in São Paulo, Brasil. Tommaso Rada is a documentary photographer working on socio-economic issues. His projects describing the surrounding society are aims more to create questions than to looking for answers. His works has been published in several magazines and newspapers such as Financial Time, Der Spiegel, Monocle, Popoli, Popoli e Missioni, Private online edition, Expresso, Helsingin Sanomat, Courrier International, Le Pelerin, Washington Post and Forbes Brazil. He collaborated with Unicef Mozambique, Comunità di Sant'Egidio and Habitat for Humanity Portugal. About Domestic Borders Since the creation of the European Union (EU) one of the goal has been the unification of the different countries belonging to the EU and the abolishment of the frontiers between these countries. The Schengen treaty stipulated in 1985 have had the aims to gradually create an EU without borders, later in 1990 with the Schengen Agreement finally eliminate the borders between European countries allowing the free movement of people across the several European countries and the abolition of internal border controls. In the last decade separatist movements grow up all across Europe, the economical differences between the European countries increased, the foreign politics aren't common for all the countries, in a period in witch Europe should consolidate his union new obstacles and challenges appear. The domestic borders of Europe, now - after the Schengen Treaty and with the European unification - are gone. Just mountains, rivers and imaginary historical lines, are what have left: a liquid frontier between apparently distinct countries. The rivers, the mountains, the history trapped in the places define the communities, the interaction and the contacts between the people of two neighbouring countries, where the territory and the communities shape reciprocally around a specific space - physical, human and cultural - that get dissolved in the same rivers, mountain places that divide them. Empty of its political value, from a strange limbo made of controls and checkpoints the domestic borders become just a line on a map. The emptiness of the frontier, that have should fill of new life and new dynamics after the unification, get reflected in the territory, the time get stopped and while the world around is changing, on the border the space is assuming a proper physiognomy, and the time is sometimes frozen. "Domestic Borders" becomes a route where each photos is a stop on the way, not searching for answer but interrogating the social reality, the relations between habitants and the territory and the meaning of Europe today. "Domestic Borders" ends up being an unusual and unexpected trip, a dystopian portrait of the relationships between and across the border, showing the challenges of living in an unique space with a different passage of time.
Elizabeth (Lee) Miller
United States
1907 | † 1977
Lee Miller, 1907-1977, first entered the world of photography as a model in New York to photographers such as Edward Steichen, Arnold Genthe and George Hoyninguen-Huene. In 1929 Miller moved to Paris and became the assistant, and lover, of Man Ray. Together, they produced some of the most significant works of both of their careers, including rediscovering the solarisation technique in Man Ray’s darkroom. She quickly became established as both surrealist artist and photographer in her own right and returned to New York to run her own studio with commissions for portraits, packing shots and editorials for Vogue magazine. Lee Miller spent several years in the mid 1930’s living in Cairo with her Egyptian husband, Aziz Eloui Bey. Bored of life in the city, she would travel by jeep through the desert on photography exhibitions and re-imagine desert landscapes with her witty and surrealist flair. In 1939, Lee moved to London and worked as freelance photographer for British Vogue magazine. Alongside this, her documentation of the Blitz was published in Grim Glory, a pamphlet encouraging the US to join the war effort. Lee Miller later became one of the first ever female war correspondents accredited to the US Army and travelled with the US troops throughout Europe during 1944 and 1945. She documented the liberation of Paris, the siege at St Malo and Buchenwald and Dachau concentration camps. Perhaps most famously, she took a self-portrait sitting in Adolf Hitler’s bathtub in his Munich apartment, a statement of the end of the war. Lee Miller mostly abandoned photography later in her life and didn’t speak of her wartime experiences. Her former and final home, Farley Farm House, Sussex, England is now the base of the Lee Miller Archives which holds over 60,000 of her negatives as well as manuscripts and vintage prints. Over 3,000 images are available to view at www.leemiller.co.uk.
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All About Photo Awards 2026
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